We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
the script is difficult to assess, but there are several touches which merit praise and the simple dialogue is used with such economy that the film might well have been made without it. On the other hand, music forms an important environment to the theme and has been well prepared in relation to the changing moods. Once again Loretta Young provides the most perfect photographic face on the screen and Garmes has given her full value. Gene Raymond plays well and freshly against Heggie's nicely handled Professor, while the minor character parts are mostly overplayed for comedy. Despite its defects, the picture stands well in the memory.
P. R.
THE REBEL
Production: Universal. Direction: Luis Trenker and Edwin Knopf. Scenario: Luis Trenker. Photography: Sepp Allgeier, Willi Goldberger, and Albert Bernitz. With Luis Trenker •, Vilma Banky, and Victor Varconi. Distribution : Universal.
This new avalanche effort may be bracketed with The Doomed Battalion as an offshoot of the Pitz Palu and Blue Light college of Alpine endeavour. At its London showing the photography came in for a special Press mention, by which you may understand that it is largely of the backlit variety and heavy over-correction which grows tiresome by repetition. Subject in this case is period, a sort of Sabatini-cum-Farnol affair with the familiar rebel student and the ringleted blonde, supposedly in Austria when Napoleon's army was in residence. There are two good hearty chases in the Western style and an ending which probably is original — the letting loose of huge avalanches of stone and timber on to the French army which is passing below at the bottom of the gorge. The picture is built round this idea. As a director of imagination, Trenker is obviously unfamiliar with his job and is hardly more than amateurishly capable as the hero. Presumably the exteriors are authentic and the recording and interiors Hollywood. There is a concluding shot in the real Laemmle tradition in which the souls of the three martyred rebels rise from their dead bodies and go marching into the sky.
P. R.
46